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Speech Analysis

What ideology underpins the speakers’ view of welfare in each speech? Justify your selection of these ideologies.

Select two of the speeches or newspaper articles provided below.

Ensure that they represent two different ideological positions—for example, one ‘Social-Democratic’ and one ‘Neoliberal,’ or one ‘Third Way’ and one ‘Liberal.’

In a total of 750-800 words, answer the question:

What ideology underpins the speakers’ view of welfare in each speech? Justify your selection of these ideologies.

You will Interpret the dominant ideologies underpinning the speech by analysing the historical context and the language (words and sentences) used in the speech /article against the theoretical descriptions of welfare concepts and ideologies found in the required readings for weeks 1, 2 and 3.

You may wish to discuss the following but you do not need to discuss all of these.

How does the speaker;

conceptualise human nature. i.e what terms do they use to signify people. Do they understand people as individuals or part of larger social groups and contexts.
understand how welfare is produced?
understand who is responsible for welfare?
understand the role of government ?
understand welfare; as social, occupational or fiscal?
understand welfare provision as universal or targeted/selective.
Drawing on your interpretation of these various views of welfare, justify your selection of the broader welfare ideology most suited to the speakers view?

The essay will be written in formal academic style, with an introduction, a body and a conclusion. The introduction will define and locate ideology as a key feature of policy analysis for community service work. The body will contain your logical points. The conclusion will summarize what you have argued.

Sample Solution

Willows was a book intended for adults, then possibly the definitive childhood character from The Golden Age of Children’s Writing’ is Peter Pan. Again, there is a conflict arising from the adult perception of what it means to be a child, or if the subtext of the story is one intended for children as readers. Here, a wilful and spirited boy replaces the image of Pan as a horned, half man, half goat god. Fairies and mermaids replace the Nymphs of mythology, and the shepherds who worshipped Pan are now a tribe of lost boys. Peter Pan is first introduced when ‘Mrs. Darling is tidying up her children’s minds’ as Barrie describes’ a child’s’ mind, which is not only confused, … it keeps going round all the time’ (Location 84 of 2074, Peter Pan and Wendy, Kindle edition.) Which suggests the author ultimately regards the minds of children and the state of childhood as a separate and unordered state, in need of organisation. Like Mr. Darling, Barrie feels compelled to reinstate order. We learn Peter Pan comes from Neverland, a place where each child has their version of Neverland, seen in the moments before they go to sleep. Peter lives with the fairies and ‘when Children died he went part of the way with them so that they would not be frightened.’ Within the story, there are fights to the death, and a reference to Peter Pan thinning out the lost boys, though we do not know how this is achieved. The story suggests Peter kills for fun. If a literal interpretation, then he is cruel and controlling. One can also read Peter Pan is a representation of the fleeting dreams children have before deep sleep, imaginings fed by pocket magazines of the day, playing out pirates and Indians? An illustration, At Home in The Nursery, By George Cruickshank, from 1835, depicts children at play with a range of battle inspired toys. War and death are trivialised by play. Even before the story is established, the author makes the distinction that ‘Children have the strangest adventures without being troubled by them’. Peter Pan as a free spirit entices the children to a land of play and adventure. The battle between Peter Pan and Captain Hook suggests a battle between childhood and adulthood, personified by the ever-ticking clock. Peter has ‘no sense of time’. On his parting from Wendy, the children grow up, forgetting Peter. When reminded, Peter does not remember his nemesis, Captain Hook or his companion, Tinkerbell. It seems the battle was only a game, soon forgotten. Much like the adopted trope, ‘it was all a dream’. Neverland never was, only Peter Pan remains. The idea of Peter Pan flying reminds the reader of the prevalence of dreams in which we can fly, that seems part of childhood for many, yet diminish in frequency as we reach adulthood. Peter is innocent and heartless and flies away, because ‘It is only the gay, innocent and heartless that can fly’. Adulthood grounds us. Peter Pan is driven by the notion of self, meeting his own needs and being in the moment, a physical manifestation of freedom, hailing from a none reality of an unobtainable ‘Neverland.’ Ultimately

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